Nika Neelova | CV.pdf | Exhibitions | Works

Nika Neelova’s work explores the notion of hypothetical posthuman landscapes, evolving from references to geophilosophy, historical non-linearity, and a desire to imagine objects involved with processes beyond the register of the human. Often addressing themes of catastrophe and the probability of apocalyptic scenarios, the sculptures take form of ruins or dysfunctional replicas of daily objects. The pieces expose material processes involved in translating existing objects into other mediums, decoding and recoding them into a new existence, enacting the processes that were used to shape them in the first place, altering their internal structures and eliminating their purposes. Liberating objects from their meaning, the works generate sculptural strategies that expose them as the modified fossils and techno-artefacts of a human dominated environment.Stepping into a hypothetical posthuman existence, the deconstructed forms recreate a landscape in ruin - where architecture of a once occupied environment merges with its surrounding nature dissolving the boundaries between the two.

Driven by the interest in the immediate questions surrounding the nature of ecological and urban development and the environmental consequences of humanity acting as a geophysical force on the planet, the works often inhabits a fictional zone where objects have developed according to different laws suggestive of the possible dissolution of our attachment to reality.

Nika Neelova was born in Moscow in 1987. Now based in London, UK.

Selected Collections:
DRAF David Roberts Art Foundation Collection, London; Saatchi Gallery Collection, PERMM Museum of Modern Art Collection, Museum Biedermann Collection, Santorini Museum of Modern Art, Modern Forms Collection, Beth de Woody Collection, Jason Martin Collection, Levett Collection, Land Securities Collection, Windsor & Newton Collection, private collections in UK, the Netherlands, France, USA, Russia, Portugal, Italy, Germany


12.09.2017 - 15.10.2017

August 31 – September 3, 2017
Osnova gallery is delighted to present its leading artists Nika Neelova and Yelena Popova on Code Art Fair, which will be held in Copenhagen, Danmark.
The works by artists Nika Neelova and Yelena Popova explore and experiment with the possibilities of art production in general. The artists spiecially created a new project for this event. Yelena's practice calls in question what painting can be and how it can work nowadays. Her art pieces pull the stories of abstraction into sharper focus and show painting's materiality. The recent Chemical Landscapes and Human Studies series pose a question of human endurance and presence. Like Tarkovsky’s film Stalker, Nika Neelova’s work is loosely based on the idea of a possible dissolution to our attachment to reality. Through exploration of the possible future of geology the work exposes the modified ruins and techno-artefacts of a human dominated environment crossing various historical periods. Needless at first thought objects set against the movements of the earth and deep geological time. Exploring fluidity of matter through time, the work suggests the view of the world as a set of flows running in parallel to one another.

March 3 - April 9, 2017
Blue.Seventeen is a post-apocalyptic landscape that exists in the world “without us”: on the planet where we still exist as a species, leave traces — however, in this very moment we’ve stepped back, and from the active agents turned into spectators, detached from the action itself. Imagine the flight mode in a computer game, when one’s role of a player is replaced by the position of a scenery watcher: the one who got stuck in the moment, when the so-called present has not yet fallen into the past in order to free the space for some upcoming future. Here the linear passage of time is replaced by the relationship of co-composition amongst things and events, which are intentionally deprived of duration — the parameter that is inherently human-specific, as it is imposed by human determinism. Here the processes of production and consumption once reached its critical speed; and then “everything was so slow that even death became impossible, because dying itself was extended over such a long periods that it has become unbearable and no one wanted to die anymore.” (Neelova, 2016)